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From YouTube: Architectural Review Commission 4-5-21
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C
D
E
Sorry,
mr
chair
he's,
I
think
there
he
is
he's
coming
he's
got
the
information.
C
D
D
So,
for
me
the
the
issue
becomes,
I
think,
multiple
of
the
hardships
don't
kind
of
achieve
their
goal.
You
know
number
two
in
existing
condition.
As
of
you
know,
1915
we're
not
investing
again
we're
not
investing
in
existing
condition,
we're
adding
on
to
it
number
three.
The
idea
of
it's
besting
a
existing
condition.
It's
not
it's
changing
it
and
then
for
five.
D
E
D
D
Sure
the
reason
I'm
saying
that
number
hardship
number
two
is
not
a
hardship
is
the
existing
condition
is,
if
you
were
to
vest
the
main
structure,
setbacks
and
the
accessory
structure
setbacks
separately,
then,
yes,
that
would
be
correct.
This
is
an
existing
condition
that
is
not
towards
the
applicant,
but
the
variance
for
today
would
be
to
combine
the
accessory
structure
into
the
main
structure,
which
now
has
a
setback
specifically
for
the
main
structure
and
not
separate.
C
D
C
Okay,
so
that
was
kind
of
my
question
just
the
language
that
you're,
using
with
the
vesting
and
the
like.
Maybe
I'm
just
not
understanding
so
you're
you're,
saying
that
there
should
be
a
step
prior
to
what
she's
asking
for.
D
C
C
C
A
Right
so
right,
the
concern.
The
concern,
I
think,
is
just
that:
we're
not
we're
not
grandfathering.
In
going
from
three
feet
of
setback
for
an
accessory
structure
to
half
a
foot
and
zero
feet,
it's
the
whole
house
going
to
half
a
foot
and
zero
feet
so
once
we
grant
the
variance,
everything
else
receives
the
same
variance.
A
D
A
C
E
B
E
C
Yes,
but
can
we
but
can
we
condition
the
variance
so
that
it
so
that
the
non-conform,
so
that
the
six-inch
setback
is
allowable
only
as
far
as
the
existing
structure,
you
know
only
for
the
existing
historic
structure
and
not
for
and
and
cannot
be
carried
forward
in
a
possible
addition.
C
D
For
me,
I
think
the
biggest
issue
that
I'm,
I
think
the
this
is
not
meeting
the
hardships.
Is
it's
saying
that
this
is
an
existing
condition
that
they're
trying
to
basically
vest
and
put
into
legal
documents
when
we're
not
looking
at
an
accessory
structure
in
the
main
structure
separately,
we're
now
combining
it
so
we're
combining
what
was
an
accessory
structure
into
the
main
dwelling
and
now
using
those
footprints
and
those
dimensions
to
the
vest
for
the
main
house.
D
B
I
would
also
like
to
add
that
this
is
not
necessarily
a
unique
and
singular
condition
for
this
property
alone.
I
mean
it's
been
pointed
out
that
several
properties
nearby
have
similar
conditions
without
going
into
them
in
specific
detail.
We
can
only
take
that,
as
stated,
and
that
you
know
puts
hesitation
forward
in
terms
of
that
particular
criteria
being
that.
D
I
think
it'd
be
one
thing
if
if
the
applicant
had
come
forward
and
said
you
know,
because
the
house
and
the
accessory
structure
are
so
close
together,
we
need
to
keep
that
21
inches
in
between,
because
otherwise
we
have
to
remove
portion.
That
is
something
that
we
would
look
at
and
understand
that
that
is
a
hardship
and
that's
not
an
applicant
created
condition.
D
E
E
E
Sorry
so
the
application
is
before
the
commission.
The
commission
can
either
vote
to
approve
the
variance
or
deny
the
variance.
If
the
variance
is
denied,
then
the
certificate
of
appropriateness
will
be
continued.
E
C
B
Oh,
did
I
say,
184
sorry,
it's
189
arc
21-189
for
the
property
at
704,
south
fueling
avenue
for
a
north
side,
yard
setback
from
seven
feet
to
point
five
feet
with
point
five
feet
for
ease
and
gutters,
and
a
rear
yard
setback
from
20
feet
to
zero
feet
in
zero
inches
be
denied
due
to
the
failure
of
the
petitioner
to
meet
the
burden
of
proof
with
regard
to
the
six
hardship
criteria
set
forth
in
section
27-114-d
of
the
city
of
tampa
code
of
ordinances,
specifically
that
the
alleged
hardships
or
practical
difficulties
are
not
unique
and
singular
with
respect
to
the
property
and
that
the
hardship
or
practical
difficulty
of
combining
the
primary
and
the
accessory
structure
does
not
result.
B
D
F
B
F
F
And
moving
to
the
photo
presentation,
it's
a
little
different
than
what
you
used
to
see,
but
this
is
the
sanborn
map.
Once
again,
we
try
to
use
the
1929
as
a
point
of
reference.
You
see
the
the
density
that
is
here.
It's
a
lot
different
than
what
we're
usually
seeing
the
red
indicates.
A
brick
construction,
blue
is
concrete
block
and
the
yellow
is
frame
construction,
so
in
the
downtown
area,
there's
a
lot
of
more
buildings
that
reflect
the
brick
construction.
F
F
F
F
This
is
a
closer
shot
of
that.
You
have
more
of
a
traditional
application
here
and
here
and
then
this
was
modified
some
time
ago,
once
again
getting
a
little
closer,
showing
you
the
existing
condition.
There
are
some
pie,
lasters
that
are
appropriate
to
the
overall
character
of
the
of
the
construction.
That
is
to
remain
it's
the
infill
here,
that's
going
to
be
in
question
this
evening.
F
F
Tampa
theaters
over
here.
This
is
the
parking
lot
that
I
refer
to
with
the
overhead
I
shot,
and
this
is
working
your
way
to
the
south
and
a
couple
street
shots.
You
see
the
theater
here,
the
this,
the
lighting
and
the
signage
came
to
this
board
some
time
ago.
So
the
tampa
theater
is
moving
in
the
right
direction
as
far
as
bringing
it
back
to
some
precedent
that
it
once
had.
This
is
the
north
shot
looking
down
franklin-
and
this
is
the
south
shot,
so
that
completes
a
photo
presentation.
F
Also
everybody
that
wishes
to
testify.
Please
stand
up
and
raise
your
right
hand
to
get
sworn
in.
Thank.
F
G
H
H
At
that,
so
this
is
a
photograph
of
the
tampa
theater
that
I
took
last
year
when
we
started
this
project
and
the
area
that
we're
talking
about
is
right
here.
It's
a
flower
shop
right
now,
so
what
I've
done
is
a
photo
montage
where
I've
inserted
our
project
in
there.
It's
a
little
hard
to
see
with
this,
but
I've
got
so
much
closer
shots.
So
what
we've
done?
If
you
look
at
the
the
two
openings
so
the
front
of
tampa
theater,
it's
interesting!
It's
really
three
openings!
It's
not
a
facade
at
all!
H
This
is
wide
open
here
with
the
marquee
in
the
center,
and
this
area
is
set
back
about
three
feet
before
you
see
the
doors,
but
it's
still
kind
of
perceived
as
an
opening
and
opening,
and
our
goal
was
to
create
that
same
feel
of
an
opening
in
our
project
as
well.
Although
it's
it's
going
to
be
interior
space,
so
let
me
move
in
closer.
Hopefully
we
can
see
that
better.
H
H
It's
well,
it's
actually
missing
right
now,
and
some
of
this
is
torn
up
right
here.
So
our
goal
is
to
replace
that
in
a
and
as
a
look
and
actual
material.
That
will
be
the
same
as
everything
across
here
and
then
give
the
feel
that
this
area
is
an
opening
where
it's
actually
going
to
be
filled
with
just
shy
of
12
foot
glass
by
a
very
good
glass
company
power,
glass.
H
So
now
here's
a
straight
on
elevation
so
now
we're
starting,
I
think,
with
this
elmo
starting
to
be
able
to
see
what
it's
really
looking
like.
So
the
continuation
of
this
beam
and
then
opening
below.
Now
we
had
to
set
back
the
glass
right
here
so
that
we
could
swing
the
door
out
for
emergency
egress.
I
wanted
to
carry
it
along
straight
and
we
tried,
but
it's
just
not
legally
possible,
because
if
the
door
cannot
swing
out
onto
a
public
property,
so
let's
zoom
in
a
little
closer.
H
H
The
actual
projector
is
behind
this
wall
here
and
so
we've
got
a
interesting
spiral
staircase
to
go
up
there
and
that's
just
for
the
person
to
manage
the
digital
projector.
Here's
a
slightly
different
angle.
You
can
see
the
door
glass
door
does
have
a
frame
around
it.
It's
got
a
hand:
rail,
not
a
ham,
sorry
handle
a
handle,
a
push-pull
handle
to
go
in
and
out.
H
You
know
we're
getting
a
little
closer.
Let
me
back
this
out
now
there
we
go.
This
shows
the
bar.
So
what's
interesting
is
this
is
what
you're
going
to
see
from
from
the
outside?
We
have
this
fabric
wall.
That's
tufted
with,
like
a
velour
finish,
we're
trying
to
get
the
feel,
it's
obviously
a
very
modern
design,
but
we're
really
trying
to
get
the
feel
of
the
rich
materials
that
were
done
in
the
original
tampa
theater.
H
The
out
pan
theater
is
outlandish,
and
so
we
tried
to
get
that
kind
of
feel
that's
going
on
too
the
ceiling.
It's
an
eight
foot
ceiling
right.
There
we've
got
so
it's
actually
a
mirror.
So
it
feels
like
that
space
is
much
taller
like
16
feet.
Instead
of
eight
feet,
we
set
the
lights
inside
the
mirror,
and
we've
got
this
copper
material
to
match
to
mimic
the
the
copper
that's
going
on.
H
We
have
a
tile
floor
with
the
pattern,
that's
reminiscent
of
next
door
and
then
this
solid
mono
block
bar
that's
just
pure
marble
of
a
very
special
piece.
Here's
another
image.
Looking
at
it,
I
put
some
people
in
there
to
give
you
a
feel
how
you
know
it
might
be
on
a
very
festive
night,
the
girl's
in
a
nice
gal
and
got
a
bartender
and
here's
a
straight
on
elevation
and
that's
without
the
glass
just
so
you
get
the
idea.
H
So
our
goal
is
to
do
an
exciting
design
that
will
get
people
interested
in
coming
there.
It's
a
small
screening
room.
I
can't
remember
the
number
of
seats
they'll
tell
they'll
talk
to
you
about
that
and
have
this
fit
in
with
historic
fabric,
that's
around
the
space
and
be
a
real
attractor
for
people
to
come
to
tampa
theater
and
not
touch
just
kind
of
touch
with
as
light
as
possible,
the
historic
materials
around
it.
But
let
this
project
be,
you
know
its
own,
its
own,
exciting
little
screening
room.
H
I
H
So
the
glass
we
chose-
this
is
a
the
glass
I
told
you,
it
can
span
12
feet
and
be
10
foot
wide,
which
is
very
unusual.
It's
it's
only
in
the
last
maybe
five
years
that
this
glass
has
been
able
to
do
that
and
meet
the
meet
the
requirements
and
the
other
thing
about
this
glass.
It's
a
low
iron
glass,
so
it's
very,
very
clear.
H
H
H
So
this
is
the
rendered
image.
That's
on
your
screen
right
now,
and
then
this
is
the
the
detail
of
that
elevation
and
you
can
see
the
sorry
you
can
see
the
the
butt
joint
right
here.
H
H
All
right,
so
it's
a
one
and
a
half
inch
triple
glaze
glass
and
then
there's
the
butt
joint.
That's
three
eighths
of
an
inch,
that's
even
less
than
what
I
showed
it
on
the
rendering
I
had
a
half
inch.
So
that's
that's
even
better.
This
is
the
glass
door
how
it
swings,
and
you
can
see
that
as
it
swings
out
the
the
the
outward
swinging
door
can't
be
on
public
property,
and
then
this
is
a
section
of
the
glass
itself.
H
You
can
see
how
the
glass
comes
right
down
to
the
concrete,
and
then
it
goes
to
the
beam
at
the
top
which
we
talked
about.
We're
adding
this
beam
to
match
the
two
other
ones,
the
one
over
the
marquee
entrance
of
the
tampa
theater
and
going
over
the
tampa
theater
offices
as
well.
We're
matching
that,
and
this
and
the
glass
goes
11
feet
4
inches
from
here
to
the
to
the
ground.
H
So
that's
the.
C
D
F
Good
evening,
commissioners
ron
vlom
staff
for
the
historic
preservation
staff
for
you,
this
application,
and
it
is
consistent
with
the
secretary
of
interior
standards,
with
the
plans
that
were
submitted
on
3
19
21.
So
since
this
is
not
in
any
local
historic
district,
we
go
to
the
standards
to
review
this
project.
F
F
We
had
asked
for
additional
information
on
the
grill
for
the
air
exchange
on
the
top
of
the
storefront
and
to
address,
if
there's
going
to
be
any
additional
signage
attached
to
the
storefront,
also
included
on
your
staff
report.
I've
included
a
couple
pages
from
the
secretary
of
interior
standards,
starting
with
page
90,
which
addresses
new
additions
to
the
historic
buildings
about
halfway
through
that
first
paragraph
it
speaks
upon.
The
new
additions
should
be
designed
and
constructed.
F
F
And
moving
to
page
92
under
recommendation,
it
addresses
considering
the
attached
exterior
edition,
both
in
terms
of
the
new
use
and
appearance
to
other
buildings
in
the
historic
district
or
neighborhood
design
for
the
new
work
may
be
contemporary
or
it
may
reference
design
motifs
from
the
historic
building
in
either
case.
It
should
always
be
clearly
differentiated
from
the
historic
building
and
be
compatible
in
terms
of
massing
materials,
relationship
to
solids
and
voids
and
color.
F
D
F
A
F
This
is
a
rehabilitation
to
the
storefront
with
the
standards
the
the
introduction
of
this
contemporary
design.
I
try
to
address
through
the
criteria
that
this
is
an
avenue
that
can
be
explored,
so
we
did
try
to
do
some
research
and
we
had
some
photos
from
a
distance,
but
to
do
a
a
reconstruction
of
what
was
there.
I
believe
we
didn't
have
the
documentation
to
fully
develop
that,
so
the
direction
they
went
does
need
to
stand.
C
G
We
have
yes,
you
know
this
project
you
can
see
from
the
the
numbers
is
a
long
time
coming,
we've
been
working
with
staff
for
a
long
time.
We
work
with
the
fire
marshal.
The
tampa
theater
is
a
1926
building
to
to
maximize
the
life
safety
of
the
patrons
of
this
micro
cinema.
G
B
In
terms
of
the
wall
section,
can
we
put
that
back
up
there?
I
wanted
to
look
at
something
really
quick.
Please.
B
B
B
H
No,
it's
it's
just
that
these!
These
two
excuse
me
these
two
columns
here,
which
are
this
design
of
granite
and
a
piece
in
the
middle
which
I
believe
is
like
a
terracotta
and
then
so
those
two
pieces,
and
then
this
this
beam
on
the
top
again
and
the
beam
is
just
to
match.
B
G
G
H
Well,
this
shows
the
the
grill
right
here
and.
B
H
D
H
Yes,
if
I,
if
I
understand
you
correctly
you're
you're,
saying
that
this
is
going
to
remain,
as
is
we're
not
changing
this
correct
yeah
we're
building
this
over
here.
If
you
know,
I
would
say
as
an
architect
if,
if
there
were
no
requirements
for
a
grill
here,
I
wouldn't
put
it
in,
but
I've
got
a
pretty
good
feeling
that
we're
going
to
need
it,
and
so,
when
we
put
it
in
we'll
make
it
look
just
like
this
one
here,
okay.
C
H
F
H
Be
inside
the
beam
and
it'll
be
integral
within
it
covered,
you
won't
ever
see
it
it'll
just
be
like
a
you
know,
a
four
by
eight
tube
inside.
G
This
is
the
same
detail
we
used
at
the
the
other
side,
it's
the
same
proprietary
fiberglass
assembly
and
we
were
able
to
get
it
into
a
three
and
five-eighths
stud
assembly.
C
C
F
C
B
Right,
I
think
that's
where
I'm
coming
from
is
whether
or
not
aesthetically
that
it's
going
to
change
it
from
a
street
view
and
a
forum
view
now,
in
my
mind,
based
on
what
you're
saying
there
are
ways
to
do
it,
where
you
hide
it
in
the
profile.
It's
beyond
it's
above
the
ceiling.
Plane
correct
is
that
the
intent.
C
H
Right
and
I
I
I
understand
your
concern
and
it's
certainly
something
we're
going
to
have
to
work
through,
but
I
don't
I
don't
see
it
changing
the
look
of
this
at
all.
C
C
G
A
You
had
mentioned
that
the
other
side
of
the
entrance
that
the
the
facade
is
set
back
in
order
for
the
door
to
swing
out.
G
No,
the
the
other
side
that
you
might
be
referring
to
is
the
green
room,
caddy
corner
on
florida
avenue,
or
are
you
looking
at
the
entrance
on
franklin.
A
H
Glass
is
not
I'm
just
saying
that
the
glass
that
we're
putting
in
does
not
line
up
with
these
doors.
D
G
H
A
H
G
D
Okay,
so
do
you
have
one
of
the
comments
that
staff
made
on
their
staff
report
was
a
demo
plan?
Do
you
have
a
demo
plan
that
shows
not
only
the
work
kind
of
to
the
existing
wall
since
that
does
seem
to
have
you
know
some
characteristics
that
need
to
be
infilled,
but
also
any
of
the
sidewalk
floors.
Those
kind
of
things
that
are
right
now,
protruding
out
and
then
kind
of
into
the
building.
G
H
D
So
one
of
the
things-
and
I
know
this
is
not
typically
part
of
our
kind
of
area
of
what
we
would
review.
I
would
just
say,
as
you
do
go
into
the
interiors
since
you
are
looking
at
a
very
you,
know:
clear,
transparent
wall,
your
materials
on
the
inside
start
to
become
kind
of
your
exterior
materials
as
well.
H
H
H
So
the
glass
door
has
these
long
handles
on
them.
These
push
filler
handles
and
as
a
requirement
of
this
system
that
it's
stainless
steel,
and
this
is
the
material
of
the
door
handle.
So
what
we
don't
really
want
to
kind
of
oops.
You
know
show
that
so
we're
gonna
cover
that
with
leather.
So
it's
gonna
be
a
leather
wrapped,
stainless
steel
handle
and
that's
right
here
and
then.
H
They
can
allow
they
can
do
powder
coating,
so
we're
going
to
have
to
choose
a
custom
powder
coat.
We
wanted
to
be
wrapped
in
copper.
They
won't.
Let
us
do
that.
I
don't
know
why,
but
they
it
won't.
It
won't
meet
the
the
wind
load
requirements.
If
we
do
that,
so
we're
going
to
powder
coat
that
in
a
material
that
close
as
close
as
possible,
mimics
the
copper
and,
if
you're
familiar
with
powder
coat,
you
can
get
that
textured
kind
of
bump.
We
just
used
some
recently.
H
H
Yeah,
that's
that's
just
that's
a
good
question.
That's
just
plastered
and
we
we
made
it
gray,
so
it
just
would
kind
of
go
away.
You
know
not
not
draw
attention
to
it,
but
there's
options
to
make
make
that
something
else.
If
someone
has
a
really
good
idea.
D
Well,
I
would
just
yeah:
it
stands
out
as
it
is
now
kind
of
presented
to
us,
so
I
would
look
at
either
a
material
that
maybe
blends
in
or
is
maybe
getting
pulled
from
one
of
the
other
openings.
If
there
is
maybe
look
at
something
that
works
a
little
bit
better
right
are.
F
D
H
All
the
lighting
is
going
to
be
recessed
lighting,
they'll,
probably
be
I'm
not
showing
one.
A
a
recessed
can
right
here
above
the
above
the
door
to
light
this
area,
and
then
there
are
lights
in
the
ceiling
on
the
inside
just
to
light
generally
light
it
so
it'll
be
a
small
aperture
like
three
inch
round.
H
Recessed
can
lights
in
the
ceiling
also
in
this
back
ceiling,
so
they
don't
so
there
won't
be
any
lights
outside.
Here,
that's
going
to
change,
but
there
will
be
a
light
right
over
that
door.
I'm
sure
that'll
be
a
requirement,
we're
not
showing
any
exit
lights
and
I'm
going
to
try
to
keep
that
to
a
minimum.
H
I
mean
I
don't
see
what
an
ex
how
an
exit
light
would
help
there'll,
definitely
be
some
inside
the
screening
room
and
behind
this
door.
Here,
on
the
other
side,.
D
Have
you
have
you
had
any
sort
of
conversations
in
terms
of
if
you're
having
this
accessible
since
it's
for
the
public?
Do
you
need
any
sort
of
push
buttons
or
anything
for
the
door
operator.
G
Entrance
is
on
the
other
side,
so
we've
got
an
accessible
entrance
through
the
main
entry
of
the
theater.
The
main
entry
to
this
micro
cinema
is
actually
through
the
lobby
of
the
main
tampa
theater,
so
99
of
the
time,
99.5
percent
of
the
time
people
will
be
entering
this
micro
cinema
from
maybe
we
could
show
the
floor
plan
from
the
main
concessions
area.
There
is
an
ada
accessible
ramp,
there's
about
a
20
inch
change
of
elevation
that
that
ramp
occurs
in
the
kind
of
a
back
hallway
to
get
into
the
micro
cinema.
D
So
again,
I'll
state.
I
know
this
is
not
typically
part
of
our
area.
One
thing
I
would
suggest
looking
at
is
just
from
a
public
standpoint
is,
if
there's
a
way
to
maybe
accommodate
that
entrance,
to
also
have
an
ada
function,
to
where
you're
not
forcing
individuals
to
kind
of
go
all
the
way
around.
If
they're
wanting
to
come
in
towards
that
front,
it
might
just
be
nice,
but
you
know
it's.
It's
not
part
of
this
case.
It's
just.
D
It
might
be
a
good
thing
to
have
the
only
other
question
that
I
have
is:
do
you
have
any
other
sort
of
besides
the
glass
sample
that
you
have
any
product
information
or
cut
sheets
for
that
glass
or
any
of
the.
G
Ron
tell
me
if
I'm
offline,
but
I
brought
up
photos
of
the
renovation
that
we
did
to
the
green
room
with
the
same
assembly.
Now
that
assembly
is
10
feet,
it
does
have
a
knee
wall
because
we
continued
that
on,
but
we
were
able
to
drop
the
size
and
reduce
the
thickness.
It
does
show
the
power
coat
powder
coating,
and
am
I
able
to
show
those
photos
off
of
the
phone?
D
D
All
right,
if
none,
then
the
applicant
is
allowed
five
minutes
for
a
rebuttal.
G
C
We
are
setting
a
precedent,
just
as
we
were
in
the
last
case
and
or
we
are,
we
should
be
concerned
about
precedent
and
we
are
eliminating
a
a
piece
of
design
which
some
of
us
may
not
particularly
like,
but
which
is
has
a
his
has
a
certain
historical
importance,
and
I
don't
think
we've
discussed
that
sufficiently.
E
Maria
petis
mackel
from
the
city
attorney's
office.
I
understand,
commissioner,
your
your
concern,
but
again
just
a
reminder
that
we
have
to
take
each
case
on
a
case-by-case
basis
and
determine
whether
or
not
a
certificate
of
appropriateness
in
this
situation
should
be
granted.
Based
on
the
presentation
that
was
given
today
and
the
questions.
If
there
are
any
additional
questions,
you're
more
than
welcome
to
answer,
but
we
have
to
focus.
B
On
one
piece,
at
a
time,
if
I
may
staff
ron
what's
the
year,
that
was
determined
was
contributing
for
the
theater.
I
Dennis
fernandez
architecture
and
historic
preservation
manager,
I
believe
it
was
added
to
the
national
register
of
historic
places
in
1974
and
then
locally
landmark
soon.
After
that
it
was
one
of
the
first
landmark
buildings
along
with
tampa
union
station
in
the
city.
So
in
the
reports
everything
obviously
focuses
on
the
atmospheric
design
of
the
theater.
I
This
was
a
retail
component
of
the
theater
separate
from
the
theater
functions
and
then
the
portion
on
the
south
side
that
other
bay
is
essentially
an
entrance
of
foyer
to
a
condominium
business
building.
It's
also
part
of
the
theater
complex,
so
it's
a
large
complex,
take
up
almost
the
entire
city
block
and
obviously
there's
a
lot
of
other
storefronts
involved
with
that.
I
do
want
to
just
add
warm
up
here.
I
A
I'm
I'm
I'm.
I
have
two
items.
I'm
struggling
to
understand
this
as
a
historic
addition.
If,
like
the
the
unattached
exterior
addition
to
a
historic
building,
expands
its
outer
limits
to
create
a
new
profile.
B
D
B
Though
there
are
portions
of
that
store
that
come
out
and
have
conditioned
space
really
like
it
display
cases
it
it's
bringing
the
envelope
of
the
existing
structure
out
further.
So
in
essence,
you
are
adding
on
space,
you
just
don't
see
it
projecting
from
the
facade,
but
it's
an
addition
of
space
to
the
flower
shop
to
the
theater
building
proper.
C
B
On
the
first
second
page
of
our
report,
you
can
see
that
there
was
some
sort
of
storefront
in
there.
It
had
some
undulations.
It
had
a
base,
still
condition,
but
it
it
definitely
had
some
extension
to
that
facade.
It
just
wasn't
as
as
pronounced
as
what
we're
seeing
today,
but
it
is
an
addition,
because
it's
incorporating
more
space
into
the
envelope
of
the
building
yeah
does
that
make
sense.
D
D
D
A
B
Disadvantage
in
the
rendering
is
we
eliminate
a
lot
of
things
that
are
actually
in
the
atmosphere
in
the
entourage
right
and
when
you
look
at
the
photographs
of
the
existing
conditions.
Today,
you
see
a
lot
of
reflection
in
the
glass.
This
might
be
low
iron
and
very
clear,
but
it's
going
to
still
have
a
lot
of
reflectivity.
So
a
lot
of
that
layering
of
imagery
is
still
going
to
happen
and
you're
absolutely
right.
I
mean
in
any
storefront
condition
historic
or
not.
B
A
A
B
D
I
would
think
the
biggest
question
now
in
terms
of
materiality
would
just
be
that
portion
that
right
now
is
kind
of
reading
as
that
black
or
gray
band,
whatever
that
is,
and
how
that
comes
up
to
the
ceiling
just
spend
some
time.
Looking
at
that,
and
maybe
looking
for
a
either
a
precedent
within
the
existing
facade
or
kind
of
within
one
of
those
openings
that
you
could
draw
from,
or
look
at
how
you
can
either
take
whatever's
happening
on
the
inside
and
kind
of
blend
that
outside.
D
D
Discuss,
I
think
another
big
thing
is:
if
this
moves
forward
or
not,
I
think,
there's
a
couple
of
just
some
material
palettes.
I
think
the
demo
plan
kind
of
updating
that
and
showing
what
the
scope
of
the
demo
and
some
of
the
the
pieces
of
you
know
how
you're
going
to
kind
of
revitalize
some
of
those
exterior
walls
and
that
you
know
material
will
be
important
and
then
just
providing
a
little
bit
more
details
for
that
glass.
Once
you
have
that
system
kind
of
figured
out
will
also
help
as
well.
D
B
B
Nobody
else
will
do
it,
move
to
grant
a
certificate
of
appropriateness
for
the
drawings
and
documents
presented
at
this
public
hearing
and
arc
20-148
for
the
property
located
at
711.
North
franklin
street,
with
the
following
conditions
that
the
wall
sections
be
updated
with
information
regarding
the
detailing
of
any
air
distribution
systems,
components
and
structural
components
and
updated
as
appropriately
and
and
that
the
historic
rehabilitation
components
be
properly
documented
and
a
plan
developed
for
documenting
them
and
rehabilitating
them
and
or
replacing
them,
and
that
the
storefront
information
be
updated
as
necessary.
B
As
you
move
forward,
did
I
capture
them
because,
based
upon
the
finding
a
fact,
the
proposed
project
is
consistent
with
the
secretary
of
state's
secretary
of
the
interior?
Sorry,
all
right
by
my
notes,
secretary
of
the
ontario
standards,
for
the
following
reasons
that
the
proposed
edition
is
consistent
with
the
standards
and
specifically
that
the
historic
character
of
the
property
shall
be
retained
and
preserved,
and
that.
B
The
distinctive
features
finishes
and
construction
techniques
or
examples
of
craftsmanship
that
characterize
it
can
start
properly,
shall
be
preserved
and
that
deteriorated
historic
features
will
be
repaired
rather
than
replaced.
D
All
right
and
then
before
we
vote,
could
the
agent
just
go
on
record,
saying
that
you
understand
the
conditions.